746.44 

In4k: 


The  person  charging  this  material  is  re- 
sponsible for  its  return  to  the  library  from 
which  it  was  withdrawn  on  or  before  the 
Latest  Date  stamped  below. 

Theft,  mutilation,  and  underlining  of  books 
are  reasons  for  disciplinary  action  and  may 
result  in  dismissal  from  the  University. 

UNIVERSITY  OF  ILLINOIS  LIBRARY  AT  URBANA-CHAMPAIGN 


may  15 


1973 


* ' i J975 


NOV3  01976 


NOV' h !'T7g 


SEP  - 1 19?'’ 


M 1 2 198? 

tf®  0 5 


L161  — 0-1096 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 

University  of  Illinois  Urbana-Champaign  Alternates 


https://archive.org/details/kensingtonembroiOOunse 


KENSINGTON 

EMBROIDERY 

AND  THE 

Colors  of  Flowers. 


PRICE,  35  CENTS. 


OF  THE  ^ 

FIOEENGE  EMBEOILEEY  SILK 


jL.nsriD  iPLOss. 


Since  publishing  the  first  edition  of  this  Book  we  have 
had  a number  of  calls  for  these  SHADE  CARDS.  They 
show 

OVER  160  SHADES 

oI  the  FLORENCE  EMBROIDERY  SILK  AND 

FLrOSS.  We  send  these  SHADE  CARDS  by  mail  for 

15  CENTS,  or  8 TWO-CENT  STAMPS. 

You  will  find  them  a great  help  in  selecting  your  shades 
and  colors.  You  can  select  shades  of  the  EMBROID- 
ERY SILK,  FLOSS,  CHENILLE,  ARACINE  and 
CREWEL  from  these  Shade  Cards.  The  silk  called 
FILOSELLE  and  FILLING  SILK  is  the  same  silk 
that  we  call  FLOSS.  We  furnish  all  of  these  materi- 
als. For  prices,  please  read  price  list  of  FANCY 
WORK  MATERIALS  on  third  page  of  this  cover. 

Please  take  notice  that  we  send  you  these 
SHADE  CARDS  by  mail,  postage  paid,  for  15 
cents,  or  8 two-cent  stamps. 

Address  all  orders  to 

J.  F.  INGALLS, 


KENSINGTON 


EMBROIDERY 


AND 


The  Colors  of  Flowers. 


i com  GDioE  10  m imoi 


Containing  a Description  of  the  Proper  Stitches  and 
THE  Correct  Colors  and  Shades  to  be  used  in 
Embroidering  the  Leaves,  Stems,  Petals, 

ETC.,  OF  the  various  Flowers  repre- 
sented in  Art  Embroidery. 

uNive^nv  or 

ILLINOIS  LIBRARY 

URBANA^CHAI^PAIGN 


Copyrighted  18S4,  by 

J.  F.  INGALLS. 

ALL  RIGHTS  RESERVED. 


TITCHES 


t 

'1  4-t. 


IN  the  following  description  of  stitches  we  shall  mention  only 
those  used  in  the  art  embroidery  of  the  day,  and  describe 
them  in  as  few  words  as  possible,  so  that  they  may  be  easily 
understood.  The  stitch  is  not,  however,  in  itself,  of  so  much 
importance,  as  any  and  every  form  of  using  the  material,  which  is 
effective,  is  allowable. 


The  Kensington  Outline  Stitch. 

This  is  the  fundamental  stitch  of  Kensington  needlework,  which 
is  most  used  in  the  embroidery  of  the  day.  It  is  used  for  working 

designs  in  outline,  either  flowers, 
figures  or  pictures.  This  latter  is 
sometimes  called  Sketch  Embroid- 
ery. Very  handsome  effects  can  be 
produced  by  outlining  different  flow- 
ers in  their  appropriate  colors.  The 
Kensington  stitch  has  been  described 
as  a long  stitch  forward  on  the  face 
of  the  material  and  a very  short 
stitch  back  on  the  under  side.  All 
embroidery  done  with  this  stitch  is 
done  upon  the  surface  of  the  cloth, 
so  that  a piece  of  work  neatly  and  correctly  done  will  show  no 
loose  ends  upon  the  back  side.  In  taking  the  stitch,  the  needle  is 
held  with  the  point  almost  directly  toward  you,  the  thread  being 
drawn  from  you.  It  is  nearly  the  opposite  of  the  ordinary  back 
stitch,  which  can  be  used  in  outlining,  if  preferred,  the  object 
being  simply  |;o  poyer  all  the  lines  of  the  pattern,  as  stamped  on 


♦ 

4 

the  fabric.  A glance  at  the  accompanying  cut  will  perhaps  con- 
vey a better  idea  of  the  manner  of  taking  the  stitch  than  can  be 
obtained  from  any  description. 

Split  Outline  Stitch. 

This  stitch  is  used  for  outlining  very  fine  designs.  It  is  simply 
the  same  as  the  above,  except  that  the  needle  is  brought  up 
through  instead  of  at  one  side  of  the  thread  of  the  preceding 
stitch,  thus  making  the  outline  more  even  and  finer. 

Kensington  Filling-in  Stitch. 

In  filling  in  the  leaves  or  petals  of  flowers,  one  or  two  rows  of 
outline  stitches  are  taken  around  the  outside.  The  needle  is  then 
brought  up  near  the  lower  leaf  or  petal  on 
the  outside  of  the  outline,  and  the  first 
stitch  taken  about  three-eighths  of  an  inch 
below  toward  the  centre  ; the  next  stitch  is 
taken  back  at  the  outside  of  the  outline. 
Several  stitches  may  be  taken  like  these 
two,  but  of  irregular  length  ; then  take  a 
stitch  in  the  direction  of  the  first  one 
taken,  but  considerably  longer,  over  which 
shorter  stitches  may  be  taken  back  to  the 
NO.  2.  outline,  as  shown  in  the  accompanying 

cut.  Repeat  these  irregular-length  stitches  till  a row  has  been 
worked  all  around,  care  being  taken  to  point  all  the  stitches  toward 
the  centre  if  a petal,  or  the  centre  stem  if  a 
leaf.  The  second  row  of  stitches  is  worked 
in  the  same  manner,  wdth  a darker  or 
lighter  shade,  pains  being  taken  to  bring 
the  stitches  up  between  the  stitches  of  the 
first  row,  in  order  to  blend  the  shades,  as 
shown  in  Cut  No.  3.  If  a long  leaf,  like 
grass  or  the  leaf  of  a cat  tail,  is  to  be 
worked,  the  stitches  should  not  be  slanted 
toward  the  centre  of  the  leaf,  but  should  follow  the  direction  of 
the  leaf  itself. 


Stem  Stitch. 

The  stem  stitch,  as  used  with  the  Kensington  embroidery,  is  the 
same  as  the  outline  stitch,  except  that  the  short  stitch  is  taken 
further  back,  the  needle  being  brought  out  a little  below  the  centre 
of  the  forward  stitch.  Large  stems,  which  cannot  be  covered  by 
this  single  stitch,  are  filled  in  in  the  same  manner  as  grass,  the 
stitch  running  in  the  same  direction  as  the  stem  itself. 


Laid  Embroidery. 

This  is  the  stitch  used  in  embroidering  flannel  skirts,  infants’ 
goods,  etc.  It  is  also  used  a great  de’al  in  art  embroidery  for 

small  flowers  like  the  Forget- 
me-not  and  for  small  leaves. 
It  is  sometimes  called  the  sat- 
in stitch.  It  is  very  simple, 
although  it  requires  great  care 
in  laying  the  stitches  evenly. 
It  requires  almost  no  descrip- 
tion, Cut  No.  4 showing  ex- 
actly how  it  is  done.  The 
pattern  is  generally  first  filled 
with  silk  or  worsted,  as  is 
shown  in  Cut  No.  5,  to  give 
it  fullness,  the  appearance 
being  much  improved  there- 
by. After  the  filling  is  put 
in  the  stitches  are 
laid  evenly  side  by 
side, either  straight 
across  or  diagon- 
ally from  the  cen- 
tre stem  of  the  leaf, 
till  the  pattern  is 
covered.  Beauti- 
ful effects  can  be 
produced  by  working  the  leaves  and  petals  in  different  directions, 


NO.  5 


G 


SO  that  the  silks  will  catch  the  light  at  different  angles,  and  thus 
give  a very  natural  appearance  to  the  work. 


Laid  Stem  Stitch. 

This  style  of  working  stems  is 
used  when  the  flowers  are  worked 
in  laid  work.  It  needs  no  descrip- 
tion, the  cut  showing  so  clearly  how 
it  is  done. 


NO.  6 


Wound  or  Bullion  Stitch. 

This  stitch  is  very  nicely  adapted  for  work- 
ing the  heads  of  grass,  wheat,  etc.  It  is 
very  simple,  the  only  care  needed  being  to 
place  the  thumb  of  the  left  hand  on  the  coil  to 
hold  it  in  place  while  drawing  the  thread 
through.  A glance  at  the  cut  will  show  what 
is  meant. 


NO.  7 

Seed  Stitch. 

This  stitch  is  used  in  connection  with  laid  work,  mostly  to  rep- 
resent the  shading  in  turned  or  twisted  leaves,  one-half  of  the  leaf 
being  generally  worked  in  laid  work  and  the  other  half  entirely 


7 


filled  in  with  seed  stitches.  This  branch  of  embroidery  consists 
simply  of  very  shorty  straight  stitches^  placed  either  regularly  or 
irregularly  just  near  enough  to  each  other  to  show  a little  of  the 
ground  material  between  the  stitches. 


The  French  Knot. 

Art  needle  work  can  hardly  be  done  without  the  use  of  the 
French  knot.  It  is  the  best  stitch  that  can  be  found  to  represent 
the  center  of  such  flowers  as  daisies,  roses, 
etc.,  and  the  pollen  or  anthers  of  many 
others.  To  make  the  knot,  bring  the 
needle  up  through  the  material  at  the 
spot  where  the 
knot  is  to  be 
made,  draw  the 
thread  tight,  and 
hold  it  ov^er  one 
finger  of  the  left  hand  ; then  twist  the 
needle  — so  to  speak  — once  or  twice 
around  the  thread,  tlien  pass  the  needle 
down  part  way  through  the  cloth,  at,  or  no.  9 

very  near,  the  point  where  it  was 
brought  up,  and  draw  the  knot  tight 
around  the  needle,  as  seen  in  the  cut, 
holding  it  with  the  left  thumb  ; then 
draw  the  thread  through.  This  stitch 
may  require  some  little  practice,  but 
after  the  ‘‘knack”  is  once  caught  it 
will  be  found  easy. 

Arrasene  and  Chenille. 

The  above  materials  are  worked  the  same  as  floss  or  crewel 
with  the  Kensington  stitch,  except  that  the  stitches  are  taken 
longer  and  not  too  close  together,  as  the  material  is  coarser  and 
covers  the  work  very  rapidly.  In  the  large  leaves  the  shading 


8 


may  be  done  the  same  as  described  for  the  Kensington  stitch,  but 
in  the  smaller  leaves  the  better  effect  is  produced  by  taking  the 
stitches  as  described  for  laid  embroidery.  After  the  leaf  or  petal 
is  worked  the  veins  or  outlines  may  be  worked  with  fine  embroid- 
ery chenille  or  with  gold  or  tinsel  cord,  which  will  add  greatly  to 
the  effect.  Fine  embroidery  chenille  is  worked  and  shaded  with 
the  Kensington  stitch,  the  same  as  described  for  silk.  In  working 
with  the  coarser  or  No.  2 chenille  it  may  be  worked  in  laid  em- 
broidery. The  effect  is  full  better  than  the  Kensington,  except 
for  very  large  coarse  leaves  or  flowers.  Arrasene  embroidery 
produces  a very  artistic  and  pleasing  effect,  and  is  growing  rapidly 
in  favor. 


Plush  or  Tufted  Stitch. 

This  is  simply  couching  filloselle  on  the  material  instead  of 
working  it  through,  and  although  claimed  by  some  to  be  a new 
stitch  and  to  have  been  discovered  by  themselves,  is  really  as  old 
as  the  hills.  To  embroider  with  this  stitch,  first  fill  the  petal 
with  rather  coarse  French  knots,  using  the  proper  colors ; then 
take  a single  or  double  strand  of  filloselle,  according  to  the  size 
of  the  flower,  bring  the  needle  up  half  way  through  between  the 
French  knots;  lay  the  floss  at  about  one-quarter  of  an  inch  from 
the  end,  against  the  needle,  holding  it  in  position  with  the  thumb, 
then  draw  the  needle  through  and  pass  it  down  on  the  opposite 
side  of  the  floss,  at  nearly  the  same  place  it  was  brought  up  ; draw 
the  stitch  down  tightly  and  clip  the  floss  evenly  with  the  scissors 
and  it  will  stand  up  straight  and  velvety.  Repeat  these  stitches, 
placing  them  quite  near  together,  until  the  design  is  completed. 
This  stitch  is  especially  adapted  for  working  such  flowers  as  cox- 
comb, princess’  feather,  golden  rod,  love-lies-bleeding,  etc.  The 
effect  is  very  striking,  and  with  practice  and  a little  knack  the 
imitation  of  the  flowers  can  be  made  very  perfect. 


Bird^s-Eye  Stitch. 

This  stitch  is  frequently  used  in  working  daisies  or  other  flow- 


9 


ers  with  small  narrow  petals,  or  for  stars  in  finishing  tidies,  scarfs, 
etc.  It  is  a sort  of  a chain  stitch  worked  from 
one  centre  point.  Bring  the  needle  up  through 
the  centre  of  the  flower,  draw  the  thread  out  to 
the  end,  then  pass  the  needle  back  through 
the  centre  and  out 
near  the  end  of  the 
petal ; throw  the  loop 
NO.  11  of  the  thread  over  the 

needle  and  draw  through  ; then  pass  the 
needle  down  on  the  outside  of  the  loop, 
bringing  it  out  again  at  the  centre.  This 
forms  one  petal  of  the  flower,  and  must 
be  repeated  for  the  other  petals.  A glance  at  the  cuts  will  enable 
one  to  understand  the  description. 

Ribbon  Embroidery. 

Or  Rococo  work,  when  neatly  done  is  exceedingly  pretty,  and  has 
already  become  very  popular.  It  is  the  least  expensive  of  all  art 
embroidery,  and  can  be  done  very  rapidly.  Combinations  of 
ribbon  flowers  and  arrasene  leaves  can  be  made  superbly  artistic. 
The  flowers  which  can  be  worked  in  this  way  are,  however, 
somewhat  limited,  and  must  be  such  that  each  petal  can  be  made 
with  a single  piece  of  ribbon.  The  best  flowers  are  the  wild  rose, 
forget-me-not,  wild  clematis,  daisy,  Russian  snow  flower,  etc. 
The  method  of  working  is  as  follows:  For  a rose  take  three  or 
five  shades  of  rose  pink  grosgrain  ribbon  No.  9,  or  Surah  silk, 
cut  the  same  width  ; cut  five  pieces  (one  of  each  shade)  two 
inches  long  ; commence  with  the  darkest  shade  ; make  two  small 
plaits  in  one  end  and  tack  it  on  the  outer  end  of  the  petal  with  a 
few  strong  stitches  ; then  bring  the  other  end  of  the  ribbon  over 
and  pass  it  down  through  a slit  made  in  the  centre  of  the  rose, 
being  careful  to  draw  the  selvages  a little  tighter  than  the  centre, 
in  order  to  make  the  petal  stand  out  soft  and  puffy  ; make  the 
other  petals  in  the  same  manner,  then  fill  the  centre  with  French 
knots  of  maize  embroidery  silk,  also  make  the  stamens  by  carry- 


10 


ing  stitches  of  silk  up  onto  the  ribbon,  with  a French  knot  at  the 
end,  to  represent  pollen.  Other  flowers,  with  large  petals, 
requiring  wide  ribbon,  are  made  in  the  same  manner  ; but  for  the 
finer  flowers,  like  forget-me-nots,  the  ribbon  may  be  threaded  into 
a large-sized  worsted  needle  and  worked  through  and  through, 
taking  a single  stitch  for  each  petal. 


Couching  Stitch. 


These  stitches  are  used  in  finishing  embroidered  tidies,  table 
covers,  etc.,  and  in  covering  and  joining  seams,  etc.  etc.  The 
stitch  is  simply  catching  down  a thread,  cord,  or  strand  or  strands 
of  any  material  by  a single  stitch  taken  straight  across  the  thread 
or  threads,  as  shown  in  the  cut.  It  can  be  used  in  a great  variety 
of  ways,  as  the  fancy  may  suggest. 


The  Colors  of  Flowers 


IN  giving  the  following  description  of  flowers  we  have  taken  as 
a standard  the  names  of  the  colors,  as  given  on  the  color  card 
of  the  Florence  Embroidery  Silk  and  Filling  Floss,  this 
being  the  silk  that  is  probably  the  best  known  throughout  the 
country.  The  names  of  the  colors  will  generally  be  the  same 
in  other  makes,  but  when  exactness  is  desired  it  is  best  to  match 
the  shades  by  the  above  make  of  silk.  The  numbers  in  the  de- 
scription indicate  the  exact  color,  and  whenever  it  is  found  difficult 
to  obtain  exactly  the  shades  wanted  they  may  be  procured  from 
the  publisher  of  this  book,  who  will  send  by  mail  anything  in  the 
line  of  fancy  work  materials  on  receipt  of  price.  Each  flower 
has  been  carefully  matched  in  all  its  parts  from  nature^  and  the 
colors,  as  given  within,  may  be  relied  upon  as  correct. 


12 


Wild  Rose. 

The  leaves  and  petals  of  this  flower  should  be  worked  in  the 
Kensington  stitch,  the  stems  in  stem  stitch,  the  centre  of  the 
flower  and  pollen  with  French  knots,  and 
the  stamens  with  straight  stitches.  The 
materials  with  which  the  best  effect  is 
procured  is  Kensington  ffoss,  although 
very  beautiful  effects  can  be  obtained  by 
combining  ffoss  with  English  crewels. 


The  rose  is  also  one 
of  the  most  popular 
ffowers  to  represent 
in  Rococo  or  ribbon 
embroidery,  as  each 
petal  can  be  made 
with  one  piece  of 
silk.  The  different 
shades  of  rose  pink 

Surah  silk  make  the  best  rose  petals.  In  working  roses  in  this 
way  the  leaves  should  be  worked  with  arrasene,  which  will  give 
a very  beautiful  and  artistic  effect. 


13 


The  proper  colors  are  as  follows : 

Petals. — Pale  pink  shaded  down  through  rose  pink  to 

rose  using  four  shades  in  all. 

Stamens. — Light  golden  olive  green  with  French  knots 
of  medium  maize  and  to  represent  the  anthers  or  pollen. 

Sepals  and  Young  Leaves.  — Three  shades  of  bright  olive 
green  to 

Older  Leaves. — Three  or  four  shades  of  bronze  olive  green 
584  i-Q  587^  veined  with  darker  shades. 

Stems.  — Bright  olive  green,  slightly  shaded  with  light  pome- 
granate 

Sweet  Brier  Rose. 

This  is  worked  the  same  as  the  above,  except  that  the  petals 
are  a more  vivid  or  darker  pink. 

Yellow  Rose. 

The  calyx,  leaves  and  stems  of  this  rose  are  worked  the  same  as 
the  wild  rose.  The  colors  of  the  petals  are  two  or  three  shades 
of  lemon  with  French  knots  of  canary  for  the 

pollen  and  stamens.  A few  stitches  of  light  golden  olive 
should  be  worked  around  the  centre  underneath  the  stamens,  so 
as  to  show  a little  of  the  color  through. 

Yellow  Daisy. 

This  flower  should  be  worked  wholly  in  the  Kensington  stitch, 
except  the  centre  of  the  flower,  which  is  done  in  French  knots. 
Yellow  daisies  in  ribbon  work  are  also  very  effective.  The  best 
materials  for  needlework  are  silk  for  the  petals,  chenille  for  the 
centre,  and  arrasene  or  crewel  for  the  leaves  and  stems. 

The  colors  are  : 

Petals. — Canary  to 

Centre  of  the  Flower.  — Seal  brown  ^3^,  with  outside  ring 
of  olive  brown  to  represent  the  pollen. 

Sepals,  Leaves  and  Stems.  — Three  or  four  shades  of  olive 
green  to 


14 


White  Daisy. 

This  is  one  of  the  most  popular  of  flowers  to  represent  in  art 
needlework.  It  is  generally  worked  in  the  Kensington  stitch, 

although  it  is  often  worked  in  laid 
embroidery  or  satin  stitch.  The 
leaves  and  petals  being  narrow  are 
well  adapted  for  this  kind  of  em- 
broidery. It  is  also  a choice  flower 
for  ribbon  work.  The  best  mate- 
rial for  needlework  daisies  is  silk 
floss  for  the  petals,  leaves  and 
stems,  and  fine  chenille  for  the 
centre  of  the  flower  ; crewels  may 
also  be  used  for  the  leaves  and 
stems. 

The  proper  colors  are  : 

Petals.  — Dead  white,  shaded 
with  silver  drab  ; centre,  French 
knots  of  canary  with  a ring  of  golden  olive  green  around 

the  edge. 

Sepals,  Leaves  and  Stems.  — Three  or  four  shades  of  rather 
dull  olive  green  to 


Lilac. 

The  best  effect  is  produced  by  working  both  flower  and  leaves 
in  the  Kensington  stitch  with  silk,  as  both  petals  and  leaves  are 
smooth  and  glossy.  The  buds  may  be  nicely  represented  with 
double  French  knots  of  whole  filloselle. 

The  colors  are  : 

Flower.  — Two  shades  of  light  lilac 

Under  side  of  Petals.  — Light  raisin 

Buds. — Medium  raisin  ^'^3, 

Leaves  and  Stems.  — Bright  olive  green  to 


15 


Clover. 

The  flower  of  the  clover  is  represented  very  nicely  by  taking 
short  stitches  with  the  whole  thread  of  floss.  The  stitches  should 
all  be  taken  the  same  length,  but  laid  irregularly,  letting  the  upper 


end  of  one  lie  against  the  lower  end  of  another  till  the  whole 
flower  is  covered.  The  leaves  and  the  stems  should  be  worked 
in  the  Kensington  and  stem  stitches.  The  best  material  is  silk. 
The  proper  colors  are  : 

Flower. — Two  shades  of  pink^^”^,  shaded  with  two  shades 
of  raisin  to 

Young  Leaves  near  the  Flower. — Bright  olive  green 

685^ 

Older  Leaves  and  Stems.  — Two  or  three  shades  of  duller 
olive  green  ^^6  698^ 

Centre  of  Leaves. — Light  lily  green 

Stems.  — Slightly  shaded  with  traces  of  light  pomegranate®”^^. 


16 


Poppy. 

'^There  are  numerous  varieties  as  to  color  in  this  popular  flower, 
and  we  give  the  colors  of  several  of  the  more  common  and  best 
adapted  to  embroidery.  They 
are  all  represented  best  in  the 
Kensington  stitch  with  silk. 

Arrasene  is  often  used,  and  is 
very  effective  ; but  if  it  is  de- 
sired to  get  the  most  realistic 
effect,  silk  is  the  best,  as  the 
leaves  and  petals  are  smooth  and 
shiny. 

The  colors  are  : 

First  Variety, 

Petals. — Three  shades  of  dark  scarlet 
to  with  spots  of  very  dark  maroon 
at  the  lower  joint  of  the  petal. 

Stamens.  — Dark  reddish  brown 
with  French  knots  of  dark  olive  brown 
to  represent  the  pollen. 

Top  of  the  Seed  Vessel. — Light  pom- 
egranate crossed  with  light  dull  olive 
green 

Stems  and  Leaves.  — Four  shades  of  lily  green  to  ; 
leaves  veined  with  lighter  shade. 

Second  Variety, 

Petals. — Three  shades  of  dark  cherry  to 

Stamens. — Old  gold  with  French  knots  of  dark  bronze 
green 

Seed  Vessel. — Dark  pomegranate  crossed  with  dark 

tan  6^1. 

Third  Variety, 

Petals.  — Three  shades  of  light  pink  to 


17 


Stamens. —Medium  lily  green  with  French  knots  of  dark 
bronze  green 

Seed  Vessel.  — Golden  olive  green  crossed  with  bright 
olive  green 

Fourth  Variety. 

Petals.  — Three  shades  of  flame  color  to 

Stamens.  — Dark  garnet  with  French  knots  of  dull  olive 

green 

Seed  Vessel. — Medium  olive  green  crossed  with  dark 
garnet 

Fifth  Variety. 

Petals.  — Cream  white,  shaded  with  light  pink 

Stamens.  — Medium  pomegranate  with  French  knots 

of  dark  olive  brown 

Seed  Vessel.  — Medium  bright  olive  green  crossed  with 
light  pomegranate 

Other  varieties  can  be  worked  by  variegating  the  colors  in  the 
petals  with  any  of  the  above  shades,  arranging  the  colors  to  suit 
the  fancy  of  the  worker. 

Forget-me-not. 

This  ever  popular  little  flower  is  worked  best  in  laid  embroid- 
ery, with  silk.  It  is  also  a perfect  little  gem  of  a flower  to  repre- 
sent with  ribbon.  The  leaves  should  be 
worked  in  laid  embroidery,  if  small,  or 
in  Kensington  stitch,  if  large. 

The  proper  colors  are  : 

If  it  is  desired  to  work  the  colors  true 
to  nature  it  should  be  worked  with  two 
shades  of  light  old  blue  "37^  with 
French  knot  of  orange  for  the  centre. 
It  is,  however,  more  often  worked  with 
bright  light  blues  to  with  French 
knot  of  canary  in  the  centre.  Light 
pale  pink  is  also  used.  The  leaves 
and  stems  are  three  shades  pf  dull  olive  green  to 


18 


Bachelor’s  Button. 

There  are  several  varieties  of  this  flower  as  to  color,  all  equally 
well  adapted  for  needlework.  They  are  generally  worked  wholly 
in  the  Kensington  stitch,  and  are  most  effectively  done  with  silk. 
The  colors  are  : 

.First  Variety, 

Petals.  — Three  shades  of  raisin  to 

Stamens. — Light  blue  purple 

Calyx.  —Dull  olive  green  with  little  points  of  lily  green 
Stems  and  Leaves. — Three  shades  of  rather  dull  olive  green 
686  688^ 

Anot/ier  Variety. 

Petals.  — Cream  white,  shaded  with  light  buff 
Stamens. — Light  raisin  or  ^73^ 

Calyx,  Leaves  and  Stem. — The  same  as  in  the  first  variety. 
A Third  Variety. 

Petals. — Three  shades  of  pomegranate  to 
Stamens.  — Raisin 

Calyx,  etc.  — The  same  as  first  variety. 

A Fourth  Variety. 

Petals. — Three  shades  of  old  blue  ™ to  '^39, 

Stamens.  — Light  lilac 

Other  varieties  can  be  made  by  working  them  conventionally  in 
bright  blues,  pinks,  etc. 


Sorrel, 

This  is  a very  pretty  little  flower,  or  weed,  to  work  with  other 
flowers.  It  is  very  easy  to  represent,  the  flower  being  made  en- 
tirely with  French  knots  of  embroidery  silks  in  dark  scarlets,  old 
golds  and  golden  olives,  arran  ^ed  promiscuously  to  give  a varie- 
gated appearance,  some  k • , ing  of  one  color,  others  of  two 
colors  together.  The  colors  for  the  leaves  and  stems  are  bright 
olive  green  ^^3, 


19 


¥iolet« 

This  flower  is  worked  best  in  the  Kensington  stitch  with  silk, 
or  the  petals  and  small  leaves  may  be  worked  in  laid  embroidery. 


The  proper  colors  are  : 

Petals.  — Lavender  with  veins  of  dark  purple  run- 

ning through  them. 

Centre  of  the  Flower.  — French  knot  of  ecru 
Sepals,  Leaves  and  Stems.  — Three  shades  of  medium 
bright  olive  green  to  6®®. 


Sun  Flower. 

This  flower  should  be  worked  in  the  Kensington  stitch.  It  is 
adapted  for  working  with  either  silk,  crewel,  chenille  or  arrasene. 
A very  handsome  piece  can  be  made  with  silk  for  the  petals, 
crewels  for  the  leaves  and  French  knots  of  chenille  for  the  centre 
of  the  flower.  The  whole  flower  is  also  especially  adapted  for 
arrasene,  the  leaves  and  stems  being  large,  rough  and  coarse. 
The  effect  when  worked  with  this  material  is  very  artistic. 

The  proper  colors  are  : 

Petals.  — Three  shades  of  canary  506 

Centre  of  the  Flower.  — French  knots  of  chenille  or  arra- 
sene in  seal  brown  with  traces  of  dark  maize  to  represent 
the  pollen.  ' 

Sepals,  Leaves  and  Stems.  — Three  or  four  shades  of  dark 
^)live  green  to  leaves  veined  with  lighter  shade. 


20 


Pansy. 

This  is  worked  most  effectively  in  the  Kensington  stitch,  with 
fin^  embroidery  chenille  for  the  petals  and  silk  for  the  leaves,  etc. 
Some  beautiful  effects  may  be  produced  by  working  tlie  petals 
with  both  chenille  and  silk,  using  the  silk  for  the  brightest  parts. 


The  colors  are  so  varied  and  the  flower  is  so  common  that  a mis- 
take can  hardly  be  made.  The  most  prevalent  colors  for  the 
petals  are  lilac  and  red  purples,  often  running  down  to  a dark 
dahlia  almost  a black,  canary  and  orange,  dark  reds,  garnets  and 
maroons  and  old  gold.  The  leaves  and  stems  are  worked  with 
three  or  four  shades  of  dull  olive  green  to 


n 


Lily  of  the  Valley. 

This  delicate  little  flower  is  done  best  in  laid  embroid- 
ery ; the  leaves  may  be  worked  in  either  laid  or  Kensing- 
ton stitch,  with  silk.  The  colors  are  : 

Flower.  — White  shaded  with  very 
light  lily  green 

Leaves  and  Stems.  — Three  shades  of 
bright  olive  green 


Sumac. 

This  is  very  popular  in  art  needlework,  and  can  be  made 
exceedly  effective  by  working  the  leaves  in  the  beautiful  autumn 
colors  which  are  seen  in  New  England.  The  berries  are  repre- 
sented with  French 
knots  of  No.  3 che- 
nille, each  knot  rep- 
resenting one  berry. 
The  leaves  should 
be  worked  in  the 
Kensington  stitch 
with  silk  or  crewel, 
or  with  the  two  com- 
bined. 

The  proper  colors 
for  the  berries  are 
three  shades  of  dark 
scarlet  to  No 
explicit  directions 
can  be  given  for  the 
leaves,  but  the  fol- 
lowing colors  are 
generally  used : Scarlets  and  cardinals,  geld,  golden  olive  greei^j 
bright  and  dull  olive  greens,  tan  browns,  pomegranates,  etc. 
These  may  be  worked  in  to  suit  the  taste  of  the  worker,  and  made 
to  represent  very  closely  the  autumn  foliage.  The  stems  or  veins 
of  the  leaves  are  dull  red  or  reddish  brown. 


22 


Woodbine. 


dlework,  and  like  the  sumac  leaves 
can  be  worked  very  brilliantly  as 
autumn  leaves.  They  should  be 
worked  in  the  Kensington  stitch 
with  silk,  or  with  silk  and  crewel 
combined.  The  colors  are  the 
same  as  for  sumac  leaves.  The 
berry  should  be  worked  in  laid 
embroidery,  the  color  being  dark 
reddish  blue  The  colors  of 

the  stems  are  browns 

Trailing  Arbutus. 

This  is  one  of  the  most  exquisite  of  New  England  May  flowers, 

and  can  be  per- 
fectly  repre- 
sented w i t,h 
the  needle.  It 
should  be 
worked  in  the 
Kensington 

stitch  with  silk. 

The  proper  colors  are  : 

Petals.  — Milk  white  shading  into  light  pink  ^^3^  572^  with 
French  knots  of  light  maize  in  the  centre. 

Leaves.  — Three  shades  of  bright  olive  green  585^  with 
spots  of  wood  brown 


23 


Golden  Rod. 

This  is  the  most  popular  and  effective  of  all  the  flowers  repre- 
sented in  art  needlework.  The  flower  should  be  worked  in  French 

knots  and  the  leaves  and  stems 
in  the  Kensington  stitch  or  in 
laid  embroidery.  The  best 
effect  is  obtained  with  fine 
embroidery  chenille,  or  arra- 
sene  for  the  flower  and  silk 
for  the  leaves  and  stems. 
The  flower  can,  however,  be 
wor]:ed  with  a single  thread 
of  silk  floss,  but  it  is  more 
work,  and  the  effect  is  no 
better. 

The  proper  colors  are  : 
Flower. — Yellow  and  canary  to 

Leaves  and  Stems. — Three  shades  of 
ive  green  to 

Thistle. 

The  most  effective  manner  of  working  this  flower  is  with  the 
plush  stitch,  or  it  can  be  worked  with 
arrasene.  The  calyx,  leaves  and| 
stems  should  be  worked  in  the  Ken-  ' 
sington  stitch  with  silk. 

The  proper  colors  are  : 

Flower.  — Very  pale  pink 
two  shades  of  rose  pink  and 

two  shades  of  light  lilac 
These  shades  blended  and  shaded 
together  will  give  a very  natural 
effect. 

Calyx,  Stems  and  Leaves.  — Three  shades  of  dull  olive 
green  to 

Thorns.  — Light  lily  green 


24 


Apple  Blossoms. 

This  beautiful  flower  is  one  of  the  best  adapted  to  the  Kensing- 
ton stitch.  The  brilliant  pink  and  white  in  the  petals  and  the 
vivid  greens  in  the  young  leaves  make  it  one  of  the  most  effective 
for  art  needlework.  It  should  be  worked  wholly  with  silks. 


The  proper  colors  are  : 

Petals. — Three  shades  of  light  rose  pink  572^  573^  The 
half-open  buds  should  show  a brighter  pink 

Stamens. — Bright  olive  green  with  French  knots  to  rep- 
resent the  pollen. 

Sepals  and  Young  Leaves.  — Two  or  three  shades  of  bright 
olive  green  to 

Old  Leaves.  — Dull  olive  green  to 

Stems.  — Three  shades  of  reddish  drab  to 


25 


Barberry. 


These  should  be  worked  in  the  Kensington  stitch  with  silk.  In 
working  the  berry  the  stitches 
should  be  taken  in  the  direc- 
tion of  the  length  of  the  berry 
and  not  across  it. 

The  proper  colors  are  : 

Berries.  — Two  or  three 
shades  of  dark  scarlet  to 
with  one  stitch  at  the  lower 
end  of  each  berry  of  black  or 
dark  brown. 

Stems  of  the  Berries.  — 

Medium  pomegranate 

Blossoms.  — Light  gold 
with  French  knot  of  dark  ca- 
nary in  the  centre. 

Leaves.  — Three  shades  of 
dull  olive  green  to  with  lighter  shade  for  the  back  or  turned 
edge. 

Stems.  — Dark  gold  and  olive  brown  to 


Innocence. 

This  delicate  little  flower  can  be  best  represented  in  laid  em- 
broidery with  silk. 

The  colors  are  : 

Petals.  — Two  shades  of  lavender  the  outside  of  the 

petal  being  the  darkest. 

Centre  of  the  Flower.  — Single  French  knot  of  dark 
canary 

Sepals,  Leaves  and  Stems.  — Bright  olive  green  685^ 


26 


Peach  Blossom, 

This  should  be  worked  in  the  Kensington  stitch  with  silk. 


The  colors  are : 

Petals.  — Three  shades  of  light  rose  pink 

Centre  of  the  Flower  and  Stamens. — Light  lily  green 
with  French  knots  of  light  tan  to  represent  the  pollen. 

Sepals.  — Two  shades  of  medium  pomegranate  shading 

to  light  lily  green 

Stems.  — Two  shades  of  reddish  brown 

Young  Leaves.  — Two  shades  of  bright  olive  green 

Dandelion. 

This  flower  should  be  worked  in  the  plush  stitch,  or  it  may  be 
worked  with  silk  arrasene.  The  leaves  should  be  worked  in  the  « 
Kensington  stitch  with  silk. 

The  proper  colors  are  : 

Flower.  — Two  shades  of  canary  and 

Sepals,  Leaves  and  Stems.  — Three  shades  of  dull  olive 
green  to  leaves  slightly  veined  with  light  pomegranate 

After  the  flower  has  gone  to  seed  it  is  i*epresented  with  light 
silver  drab  the  seeds  with  light  olive  brown 


27 


Pond  Lily. 

This  is  an  exquisite  flower  when  nicely  worked.  It  can  be 
worked  most  naturally  in  the  Kensington  stitch  with  silk,  but  a 


very  artistic  effect  can  be  produced  by  working  it  with  arrasene. 
The  proper  colors  are  : 

Petals.  — Dead  white  shaded  with  light  silver  drab  with 
traces  of  light  pomegranate  in  the  centre  of  the  outer  petals. 

Stamens.  — Light  old  gold  and  golden  orange 
Sepals.  — Two  shades  of  medium  olive  green  shaded 

with  two  shades  of  pomegranate 

Leaves.  — Three  shades  of  dull  olive  green 
Under  side  of  Leaves.  — Two  shades  of  medium  pomegran- 
ate ^7^,  shaded  slightly  with  dull  olive  green 


Pine  Cones. 


When  nicely  and  carefully  worked  this  can  be  made  exceed- 
ingly effective.  It  is  done  mostly  in  the  Kensington  stitch,  except 
the  outside  points  of  the  cone,  which  is  done  in  laid  work.  Silk 
is  the  best  material  to  use. 


The  proper  colors  are  : 

Outside  Points  of  Cone.  — Two  shades  of  fawn  brown 
621^ 

Inside  or  Protected  Parts  of  the  Conp:.  — Two  shades  of 
tan  brown  ^^3, 

Needles.  — Medium  dull  olive  green 
Dry  Needles.  — Light  wood  brown 

Stems.  — Two  shades  wood  brown  shaded  with  tan 


29 


Tulip. 

This  is  one  of  the  most  beautiful  of  flowers,  and  can  be  per- 
fectly represented  in  the  Kensington  stitch,  with  silks  for  both 
leaves  and  flower.  The  flowers  are  found  in  a great  variety  of 
colors,  and  also  are  variegated  with  several  colors  in  each  flower, 
so  that  they  may  be  worked  according  to  the  fancy  of  the  worker. 
The  colors  mostly  found  in  the  petals  are  three  or  four  shades  of 


dark  scarlet  to  ; two  or  three  shades  of  dark  cherry  to 
to  ; three  or  four  shades  of  yellow  and  canary  to  ; light 
old  gold  to  ; apricot  yellow  to  and  white  They 

may  be  worked  with  any  set  of  these  colors,  or  they  may  all  be 
used  in  the  same  flower,  which  are  so  varied  in  hue  that  a mis- 
take can  hardly  be  made.  The  colors  for  leaves  are  three  or  four 
shades  of  lily  gr^en  to  ; stems  dull  olive  to 


30 


Heliotrope. 

Both  the  flower  and  leaves  of  this  can  be  represented  with  arra- 
sene,  or  it  may  be  wholly  worked  in  the  Kensington  stitch  with 
silk. 

The  colors  are  : 

Petals. — Two  shades  of  lilac 

Centre  of  the  Flower.  — White,  with  single  knot  of  dark 
pome'^ranate 

S'*  F^Ls  AXD  Leaves.  — Three  or  four  shades  of  dull  olive  green 

695  695^ 

Strawberry. 

This  can  be  very  perfectly  represented 
in  the  Kensington  stitch,  with  silk  for 
the  berries  and  arrasene  for  the  leaves. 

The  colors  are  : 

Ripe  Berry.  — Three  shades  of  dark 
red  540^  543  . partly  ripe  portions  can 

be  represented  by  shading  in 
light  pinkish  white  with 
the  shades  of  red  ; the  seeds 
are  two  or  three  shades  of 
maize  to  and  wood 

browns 

Sepals,  Leaves  and 
Stems.  — Medium  olive 
green  to 


PussiE  Willows. 

This,  when  nicely  worked,  can  be  made  really  artistic.  The 
buds,  or  pussies,”  should  be  worked  full  and  rounded,  and  are 
best  done  in  the  plush  stitch  with  silk.  The  colors  are  three 
shades  of  sage  drab  to  or  light  silver  drab  may  be  used  for 
the  lightest  shade.  Stems,  two  or  three  shades  of  light  reddish 
brown  ^^8,  530^  with  little  buds  slightly  lighter,  or  tan 


<0 


31 


Wild  Columbine* 

This  is  a very  handsome  and  effective  flower  when  nicely 
worked.  It  should  be  done  in  Kensington  stitch  and  in  laid 
work  with  silk. 

The  colors  are  : 

Petals. — Three  shades  of  dark  cherry  to  shaded 
slightly  with  gold  at  the  top. 

Stamens.  — Dark  gold 

Pistil.  — Bright  olive  green 

Stems,  Leaves,  etc.  — Two  or  three  shades  of  bright  olive 
green  to 


Wild  Geranium. 

This  should  be  worked  wholly  in  the 
Kensington  stitch  with  silk. 

The  colors  are  : 

Petals. — Lilac 

Stamens.  — Silver  with  French 
knots  of  pinkish  drab  to  represent  the 
pollen. 

Sepals,  Leaves  and  Stems. — 

Three  shades  of  bright  olive  green 

684  688 

5 

Dutchman’s  Breeches. 

This  little  flower  is  worked  best  in  the  Kensington  stitch  with 
silk. 

The  colours  are  : 

Flowi:r.  — Dead  white,  shading  into  light  apricot  yellow  at 
the  points  of  the  spurs. 

Pistil.  — Light  dull  olive  green  tipped  with  French  knot 
of  yellow  • 

Stems  and  Leaves.  — Three  shades  of  bright  olive  green 
to 


32 


Blackberry  Vine. 

This  can  be  worked  very  effectively  in  the  Kensington  stitch, 
the  leaves  in  arrasene,  the  flower  in  silk.  The  berries  may  be 
represented  with  black  glass  beads,  or  they  may  be  worked  in 
laid  work  with  silk. 


The  colors  are  : 

Berries.  — Very  dark  garnet  and  black. 

Flower.  — White  slightly  shaded  with  light  lily  or  the 
shading  may  be  left  out. 

Stamens.  — Light  tan 

Leaves  and  Stems.  — Three  shades  of  medium  olive 


Buttercup. 

This  flower  should  be  worked  wholly  in  the  Kensington  stitch 
with  silk. 

The  proper  colors  are  : 

Petals.  — Yellow  and  canary 

Centre  of  the  Flower  or  Seed  Vessels.  — Golden  olive 
green 

Stamens.  — Canary  with  French  knots  to  represent  the 
pollen. 

Leaves.  — Three  shades  of  dull  olive  green  to 

Stems.  — Bright  olive  green 


33 


Cat  Tails. 

These  are  so  common  and  have 
been  so  popular  as  almost  to  need 
no  description.  The  leaves  should 
be  worked  in  the  Kensington  stitch 
with  silk,  letting  the  stitches  run 
in  the  direction  of  the  length 
of  the  leaf.  The  head  should 
be  worked  in  fine  embroidery  che- 
nille. 

The  proper  colors  are  : 

Head.  — Two  or  three  shades  of 
seal  brown 

Leaves.  — Three  shades  of  olive 
green  688  i“2^ 


Golden  Coreopsis. 

The  petals  and  leaves  of  this 
flower  should  be  in  the  Kensington 
stitch  with  silk  or  chenille.  The 
centre  of  the  flower  may  be  best 
represented  with  the  plush  stitch, 
or  a small  plush  ball  may  be  caught 
on  with  one  or  two  strong  stitches 
and  made  very  effective. 

The  colors  are  : 

Petals  . — Light  gold  ^ 559  ^ 
canary  and  dark  maroon 

544^  546  (worked  with  chenille) . 

Centre  of  the  Flower.  — Dark  maroon  (plush  stitch). 
Leaves,  Stems^  etc,  ^ Dull  olive  green  ^^4^  696^ 


34 


Iris. 

This  surpassingly  beauti- 
ful flower  can  be  very  per- 
fectly represented  with  the 
needle  in  the  Kensington 
stitch  with  silks,  and  when 
nicely  worked  it  is  one  of 
the  most  effective. 

The  proper  colors  are  : 

Petals. — Three  shades 
of  light  blue  purple 
shading  into  white  or  very 
pale  lily  green  at  the  lower 
centre.  Single  threads  of 
dark  purple  should  vein 
the  petal  lengthwise. 

Pistil.  — Two  shades  of 
light  reddish  purple 

Calyx,  Leaves  and 
Stems.  — Three  or  four 
shades  of  medium  bright 
olive  green  to 


Coleus  Leaves. 

The  leaves  of  this  plant  being  large,  coarse  and  high  colored, 
are  admirably  adapted  for  arrasene  work.  They  come  in  such  a 
variety  of  hues  that  a description  of  the  colors  seems  hardly  neces- 
sary. The  most  common  colors  are  very  dark  bronze  olive  green 
712^  714^  veined  with  dark  pomegranate  ; dark  maroon 

edged  with  bronze  olive  "^^3,  variegated  with  dark  coxcomb 
red  to  '^2^,  golden  olive,  medium  and  dark  gold  and  bright 
olive  green. 


35 


Wheat. 

Wheat  should  be  worked  in  the  Ken- 
sington stitch,  except  the  head,  which 
may  be  done  in  wound  stitch.  The  color 
of  unripe  wheat  is  bright  olive  green 

Ripe  wheat  is  best  represented  by 
light  maize  or  straw  color. 

Oats  are  worked  like  wheat,  the  colors 
being  dull  olive  green  ^9^,  and  dark  lily 
green 


Grasses. 

There  is  a great  variety  of  grasses,  all 
of  which  should  be  worked  in  the  Ken- 
sington stitch  with  silk.  The  blades  of 
all  kinds  should  be  worked  in  the  different 
shades  of  olive  green,  according  to  taste  ; 
but  the  stems  and  blossoms  of  such  grasses 
as  red  top,  lawn  grass,  etc.,  may  be 
worked  very  effectively  in  such  colors  as 
light  brown,  light  tan,  pomegranate,  light 
terra  cotta  and  raisin. 


Ferns. 

Ferns  are  of  great  variety,  and  are  com- 
monly worked  in  the  Kensington  stitch 
with  silk.  They  can  be  worked  according  to  taste  in  any  of 
the  olive  greens.  The  bright,  vivid  olive  greens  and  the  light 
lily  greens  for  the  silver  ferns,  and  the  golds,  light  wood  and 
fawn  browns,  and  si]ye?r  drabs  for  bleached  ferns,  are  the  shades 
most  used, 


36 


Mountain  Ash. 

The  berries  of  the  Mountain  Ash  are  very  brilliant  and  effective 
in  embroidery.  They  should  be  worked  in  either  laid  work  or 
Kensington  stitch.  The  berries  can  be  best  represented  by  shad- 


ing together  bright  orange  with  one  or  two  shades  of  bright 
flame  ^07,  708. 

The  other  colors  are  : 

Leaves.  — Three  shades  of  dull  olive  green 
Stems.  — Dark  tan  brown 


Smxlax  Leaves. 

These  may  be  worked  in  either  laid  work  or  the  Kensington 
stitch,  using  silk  in  either  case.  The  colors  are  light  bright  olive 
greens 


37 


Nasturtium. 

This  is  a very  handsome  flower  to  represent  in  needlework.  It 
is  worked  with  the  highest  eflect  in  fine  embroidery  chenille. 
Silk 
The 

proper  stitch  to  use. 

The  flowers  come  in  vari- 
ous shades,  the  most  common 
of  which  is  flame  color  to 
veined  with  dark  garnet. 

Sepals  should  be  worked  the 
same  color  but  of  a lighter 


shade.  The  petals  may  also  be  worked  in  dark  reds,  shaded  with 
deep  orange  or  very  dark  gold  maize 

The  other  colors  are  : 

Stems.  — Dark  tan  brown 

Front  side  of  Leaf. — Dull  olive  green  veined  with  a 

lighter  shade. 

Back  side  of  Leaf.  — Light  lily  green  veined  with 

lighter  shades. 

Hardhack. 

This  can  be  very  perfectly  represented  with  the  plush  stitch  for 
the  flower  and  arrasene  for  the  leaves.  The  colors  for  the  flowers 
are  five  or  six  shades  of  pomegranate  ; leaves  and  stems,  dull 
olive  green 


38 


Azalia. 


This  is  a beautiful  pink  and  white  flower,  nicely  adapted  for 
embroidery.  It  should  be  worked  in  the  Kensington  stitch  with 
silk. 


The  proper  colors  are : 

Petals.  — Very  pale  pink  ^^3^  shaded  with  two  shades  of  pale 
rose  pink  They  may  also  be  worked  quite  dark,  with  the 

deep  rose  pinks  to 

Stamens.  — Medium  cherfy,  two  or  three  shades  darker  than 
the  petals,  with  French  knots  of  gold  brown  at  the  ends  to 
represent  the  anthers. 

Sepals  and  Leaves.  — Three  shades  of  bright  olive  green 
to 

Stems.  — Brown  drab,  shaded  with  light  fawn  620^  658^ 

659, 

Flowering  Almond. 

This  is  a good  flower  to  represent  in  arrasene  work.  The 
leaves  and  stems,  however,  should  be  worked  with  silk  in  the 
Kensington  stitch. 

The  colors  are  : ' 

Flower. — Three  shades  of  light  rose  pink  the  buds 

being  a little  brighter. 

Stems.  — Dark  brownish  drab 

Leaves.  — Bright  olive  green 


Morning  Glory. 

This  is  a very  effective  flower  to  represent  in  needlework,  the 
colors  are  so  brilliant  and  varied.  They  should 
be  worked  in  the  Kensington  stitch  with  silk. 

The  colors  of  the  petals  are  quite  varied,  the 
principal  colors  being  the  bluish  purples  to 
^1^,  reds,  dark  cherry  to  blues  to 
The  petals  may  be  worked  wholly  with  any  of 
these  colors,  or  they  may  be  worked  variegated. 


The  outer  parts  of  the  petals  should  be  worked  the  darkest. 
Leaves  and  Stems.  — Bright  olive  green  to 


Geranium. 

The  petals  of  this  flower  should  be  worked  in  the  Kensington 
stitch  with  silk  ; but  the  leaves  are  just  adapted 
for  arrasene,  being  rough  and  uneven  in  ap- 
pearance. The  colors  are  so  varied  that  they 
may  be  worked  in  almost  any  of  the  bright 
colors,  the  bright  pinks,  scarlets  and  rose  pink 
being  the  most  commom. 

The  other  colors  are  : 

Leaves.  — Three  shades  of  bright  olive 


Stems.  — Olive  green,  shaded  with  medium  tan 


690  691 


40 


Russian  Snow  Flower. 

This  is  a very  beautiful  flower,  especially  adapted  for  arrasene 
embroidery.  The  flower  can  be  made  very  artistic  by  taking  a 


single  loop  of  white  tinsel  cord  for  each  petal,  with  long  stitches 
and  French  knots  of  gold  thread  or  yellow  silk  to  represent  the 
stamens.  The  leaves  should  be  worked  in  bright  olive  greens. 


Love-in-the-Mist. 

This  is  such  a tiny  little  flower  it  is  impossible  to  represent  in 
any  other  than  a conventional  manner.  The  flower  may  be 
worked  by  simply  crossing  two  short  stitches  of  embroidery  silk. 
The  leaves  may  be  worked  in  laid  embroidery  in  bright,  vivid 
greens.  The  color  of  the  flower  is  a pale  old  blue,  but  it  may 
be  worked  in  any  other  of  color. 


41 


Calla  Lily. 

The  most  natural  effect  is  ob- 
tained by  working  in  the  Ken- 
sington stitch  with  silk,  except 
the  pistil,  which  should  be 
worked  with  fine  embroidery 
chenille. 

The  proper  colors  are  : 

Flower.  — Dead  white 
shading  toward  the  stem  into 
light  lily  green 

Pistil.  — Very  light  maize  or 
ecru 

Leaves  and  Stems.  — Three 
or  four  shades  of  bright  olive 
green  to 


Coxcomb. 

This  is  one  of  the  most  effective 
flowers  used  in  embroidery,  and  is 
very  easy  to  be  worked.  By  far  the 
best  effect  is  obtained  by  using  the 
plush  stitch  for  the  flower.  The 
leaves  and  stems  may  be  worked  in 
the  Kensington  stitch  with  silk  for 
both. 

The  colors  are  : 

Flower.  — Three  or  four  shades 
of  coxcomb  red  to 
Leaves  and  Stems.  — Dull  olive  green  to  ^^7^  with  touches 
of  red  on  the  stems. 


4^ 


Crocus. 

This  flower  should  he  worked  in  the  Kensington  stitch  with 
silk.  The  colors  of  the  petals  are  varied  from  white  and  lavender 
to  a medium  purple  The  leaves  should  be  worked  in 

three  shades  of  dull  olive  green 


Love-lies-Bleeding. 

This  is  especially  adapted  to  arrasene  embroidery,  and  is  ex- 
ceedingly effective. 


The  proper  colors  are  : 

Flower.  — Three  or  four  shades  of  red  to 
Leaves.  — Dull  olive  green  to 


Cactus  Flower. 

This  is  almost  always  worked  as  a conventional  piece,  and  can 
therefore  be  worked  with  any  material  and  in  any  colors,  accoid- 
ing  to  the  taste  of  the  worker.  For  the  flower  the  dark  reds  are 
most  generally  used,  with  pale  green  for  the  stamens  ; the  pollen 
being  represented  with  straw  color. 


4^ 


Fuschia. 

This  is  a beautiful  and  a very  popular  flower  for  Kensington 
embroidery.  It  is  generally  worked  in  the  Kensington  stitch, 
although  conventionalized  it  is  very  common  for  laid  embroidery. 
It  should  be  worked  wholly  in  silk,  as  both  the  petals  and  leaves 
are  smooth. 

The  proper  colors  are  : 

Sepals. — Pale  carmine  pink  to  ^3®,  shaded  darkest  at  the 
points  and  shading  to  the  calyx  bright  olive  green  to 

Petals.  — Liglit  to  medium  cherry  to  ^3^. 

Stamens.  — Light  cherry  ^^6^ 

Anthers  and  End  of  Pistil. — Medium  pomegranate  6*^^, 

Leavp:s. — Dull,  dark  olive  to 

The  flower  may  also  be  worked  in  darker  shades  of  pinx  and 
reds. 


Salvia. 

This  beautiful  autumn  flower 
is  well  adapted  for  embroidery 
with  either  silk  or  arrasene,  and 
should  be  worked  in  the  Ken- 
sington stitch. 

The  proper  colors  are  : 
Flower.  — Three  or  four 
shades  of  cardinal  to 

Leaves.  — Dull  olive  green 

694  |;q  698^ 


Wild  C;>rdinal  Flower. 

This  can  be  worked  with  either  silk  or  arrasene.  The  colors 
are  the  same  as  for  Salvia. 


44 


Marygold. 

This  is  a beautiful  flower  for  embroidery,  and  may  be  worked 
either  tn  the  Kensington  stitch,  the  plush  stitch,  or  with  arrasene. 
The  proper  colors  are  : 

Petals.  — Bright  orange  shading  to  light  canary  at  the 
centre,  leaving  the  outside  of  the  flower  the  darkest. 

Centre  of  Flower.  — Light  bright  olive  green 
Leaves  and  Stems. — Dull  olive  green  to 


Carnation  Pink, 

This  one  of  the  delicate  flowers  in 
favor  with  artistic  embroiderers,  when 
nicely  done,  is  exceeding  beautiful.  It 
may  be  worked  in  the  Kensington 
stitch  with  silk,  or  with  arrasene  for 
the  flower  and  silk  for  the  leaves. 

The  colors  are : 

Flower. — Varied  from  light  car- 
mine pink  to  dark  cherry  and  garnet. 

Sepals,  Leaves  and  Stems.  — 
Sage  green  to 


Cherries. 

This  is  a very  common  piece,  and  is  usually  worked  with  silk 
in  the  Kensington  stitch. 

The  proper  colors  are  : 

Cherries.  — Two  or  three  shades  of  cherry  to  ^^9. 

Flower.  — White,  with  knots  of  maize  to  represent  the  stam- 
ens. 

Leaves.  — Bright  olive  green  to 


45 


Bitter  Sweet  f or,  Roxbury  Wax  Work. 

This  is  one  of  the  most  beau- 
tiful of  all  the  popular  embroid- 
ery pieces,  and  one  of  the 
choicest  of  the  New  England 
plants.  It  should  be  worked 
wholly  in  the  Kensington  stitch 
with  silk. 

The  colors  are  : 

Berry. — Dark  flame 

Inside  of  Sepals.  — Straw 
color  567^  568. 

Outside  of  vSepals.  — Dark 
maize  gold  shaded  with  dark 
flame  709. 

Leaves  and  Stems. — 

Bronze  olive  green  726  to  729. 


Algerian  Star  Flower. 

This  flower  is  used  mostly  as  a conventional  design.  It  is  very 
beautiful  when  nicely  worked.  The  flower  is  done  in  silk  and 
the  leaves  in  arrasene. 

The  colors  are  : 

Leaves  and  Stems. — -Lily  green  to  leaves  veined  with 
dark  olive  green 

Petals. — Pale  yellow  or  straw  color 

The  star  of  the  flower  should  be  first  worked  with  pale  yellow 
worsted,  the  stitches  should  be  taken  lengthwise,  from  point  to 
point.  This  should  be  covered  with  stitches  in  the  same  direction 
with  floss  of  a little  darker  shade  than  the  petals, 


46 


Rosea  Weigelia. 

This  is  not  a common  flower  in  embroidery,  but  may  be  very 
prettily  worked. 

The  colors  are  : 

Petals.  — Rose  pink  to 

Outside  of  Petals. — Pomegranate 

Buds. — Light  lily  green,  shading  into  light  pomegranate 

Stamens,  Anthers  and  Pistil. — Ecru 

Sepals.  Leaves  and  Stems.  — Bright  olive  green  to  688^ 


Japonica. 

This  is  a waxy-like  flower,  which,  with  care,  may  be  very 
nicely  done  with  silk  in  the  Kensington  stitch. 

The  colors  are  : 

Petals.  — Dark  cherry  to 
Stamens.  — Light  yellow 
Sepals.  — Dark  garnet 
Leaves. — Dull  olive  green 
Stems. — Light  pale  olive 


Wild  Laurel. 

This  should  be  worked  with  the  plush  stitch  for  the  flower,  or 
with  arrasene.  The  leaves  should  be  done  in  silk. 

The  colors  are  : 

Petals.  — Light  solferino  pink  to  ^^9, 

Calyx. — Light  bright  olive 
Anthers.  — Lilac, 

Stamens.  — White. 

Leaves  and  Stems.  — Bright  olive  green  ®®^to 


47 


Chicory. 

This  is  a very  handsome  flower,  very  often  taken  for  purple 
asters.  They  are  very  easily  worked  with  silk  in  the  Kensington 
stitch. 

The  colors  are  : 

Petals.  — Lavender  and  blue  purple  to 
Centre.  — Dark  orange 

Leaves  and  Stems.  — Bronze  olive  green  to 


48 


TABLE  SCARF, 

WITH 


BAND  OF  CRAZY  PATCHWORK. 


In  the  following  pages  we  give  a few  illustrations  of  finished 
pieces  of  fancy  work,  in  order  to  give  an  idea  of  the  different 

methods  of  finishing.  Much 
depends  on  work  being  fin- 
ished off  tastefully,  the  artis- 
tic effect  of  many  a really 
good  piece  of  fancy  work 
being  often  spoiled  by  the 
cheap  look  of  the  trimming. 
It  is  not,  however,  at  all  nec- 
essary that  the  trimmings  of 
fancy  work  should  be  expen- 
sive, the  more  simple  devices  being  generally  the  most  elegant. 
Dealers  in  decorative  art  goods  always  display  a variety  of  tassels, 
cords,  fringes,  etc.,  which 
can  be  bought  for  very  mod- 
erate sums. 

The  most  popular  materi- 
als on  which  to  embroider 
are,  at  present,  felting,  which 
comes  in  a great  variety  of 
shades,  billiard  cloth,  uphols- 
terers’ satin,  ladies’  cloth, 
plush,  etc.,  which  may  be  had  in  all  the  principal  shades.  The 
above  are  the  materials  mostly  used,  but  any  firm  material  through 
which  the  needle  will  pass  easily  may  be  used. 


50 


Handsome  table  covers  may  be  very  simply  made,  on  any  of 
the  above  materials,  by  working  sprays  or  bouquets  in  the  corners, 


care  being  taken  to  choose  such  flowers  as  will  contrast  well  with 


what  is  more  elegant,  satin  or 


the  color  of  the  material.  Covers 
of  this  sort  may  be  finished  very 
simply  and  tastefully  by  leaving 
the  edges  entirely  plain,  or  by 
having  them  pinked  or  cut  in  small 
points  ; or  the  edges  may  be  cut 
straight  and  trimmed  with  plush 
balls,  either  all  one  color  or  differ- 
ent colors  alternating,  care  being 
taken  not  to  have  the  balls  too  near 
together. 

Should  a more  elaborate  cover 
be  desired  it  may  be  made  of  felt- 
ing, with  an  embroidered  band  of 
a contrasting  shade  of  felting,  or, 
plush,  set  three  or  four  inches  from 


the  edge  and  caught  on  with  little  point-russe  stitches  of  bright 


silks.  The  edges  on  this  cover  should  be 
Another  style  of  cov 
may  be  made  with 
on  the  foundation 
abroad  band  of  plush 
The  joining  seam 
couching  over  it 
filling  floss,  or  with 
directions  will  apply 
pieces  of  fancy  work, 
tidies  or  chair  backs, 
lambrequins,  screens 
are  generally  finish 
the  sides  being  left 
or  a pinked  edge, 
finishing  tidies  is 
at  top  and  bottom, 
ery  is  done  on  any  light  material,  such 


cut  straight  and  left  plain, 
er,  similar  to  this, 
the  embroidery  done 
and  trimmed  with 
or  velvet  on  the  edge, 
may  be  covered  by 
double  strands  of 
fancy  stitches.  These 
equally  well  to  other 
such  as  table  scarfs, 
bannerrettes,  mantle 
etc.  Table  scarfs 
ed  across  each  end, 
with  a plain  straight 
A popular  way  of 
with  a band  of  plush 
When  the  embroid- 
as  cream  satin,  beautiful 


52 


tidies  may  be  made  by  trimming  with  lace,  which  may  be  more 


or  less  expensive,  as  desired.  A bow  of  bright  satin  ribbon  on 

one  corner  also  adds  greatly  to  the 
effect.  Contrasting  shades  of  satin 
ribbon  with  embroidered  vines  of 
flowers  may  be  made  up  very  taste- 
fully in  this  way  into  chair  backs, 
lamp  screens,  banners,  etc.  Toilet 
sets  and  sofa  cushions  may  also  receive 
trimmings  of  lace,  the  effect  being 
lieiped  by  the  addition  of  bows  of 
ribbon.  Toilet  sets  and  toilet  bottles 
may  also  be  trimmed  with  quilled 


53 


satin  ribbon,  which  can  be  procured  ready  for  use  at  any  decora- 
tive art  store.  Sofa  cushions  are  also  tastefully  trimmed  with 
fancy  silk  cords,  with  bows  of  cord  witli  tassel  ends  at  each 
corner,  or  with  bows  of  ribbon. 


Ribbon  is,  in  fact,  indispensable  in  finishing  very  many  pieces 
of  fancy  work.  Bows  of  blending  or  contrasting  shades,  on  the 
corners  of  tidies,  screens,  banners,  toilet  sets,  toilet  bottles,  dress- 
ing cases,  broom-brush  holders,  and  very  many  other  articles, 
always  add  a richness  to  the  effect.  A large  bow  made  of  three 
or  four  colors  of  satin  ribbon  on  one  corner  of  a sofa  cushion  gives 


54 


a very  finished  appearance,  even  if  there  is  very  little  embroidery. 
The  same  style  of  bow  may  be  attached  to  one  side  of  a mantle 


lambrequin,  or  embroidered  lambrequins  may  be  looped  up  at  the 
centre  and  ends,  and  caught  with  bows  of  bright  ribbon.  Catch- 
alls and  waste  baskets  may  be  made  very  beautiful  with  an  em- 
broidered band  of  plush  around  the  top,  caught  up  at  the  corners 
with  bows  of  ribbon. 


Fancy  pongee  silk  aprons,  for  fancy  work,  may  be  made  very 
handsome  with  appropriate  embroidered  mottoes,  such  as 
“ How  doth  the  little  busy  bee 
Improve  each  shining  hour.” 


55 


“ I do  n’t  care  what  the  daisies  say, 

I know  I ’ll  be  married  some  fine  day.” 

“ It ’s  never  too  late  to  mend.” 


“ When  daylight  is  flitting 
We  take  up  our  knitting.” 


cat’s  head  in  south  KENSINGTON  STITCH. 


These  aprons  look  entirely  unfinished  without  bows  of  bright 
ribbon. 


56 


One  or  two  single  or  double  plush  balls  may  be  attached  to  a 
bow  of  ribbon  and  add  to  the  effect.  Acorns  may  be  treated 
the  same  way.  They  may  be  either  plain  or  bronzed  with  bright- 
colored  bronze  varnish. 


Embroidered  plush  frames,  for  mirrors,  with  a spray  of  wood- 
bine or  clematis  dropping  gracefully  across,  are  very  rich  and 
artistic,  or  appropriate  mottoes  may  be  embroidered  in  quaint  old 
Roman  letters.  A good  motto  is 

“ Be  to  my  virtues  ever  kind ; 

Be  to  my  faults  a little  blind.” 


57 

Their  beauty  is  in  any  case  heightened  by  a bow  of  ribbon  in  on^ 
corner.  In  fact,  ribbon  may  be  used  in  a hundred  ways,  which 
will  suggest  themselves  to  the  good  taste  of  the  worker. 

Tho  most  of  the  illustrations  here  given  show  clearly  how  they 
are  made  and  trimmed,  so  that  it  will  be  unnecessary  to  give  a 
definite  description  of  each.  Our  aim  has  been  to  describe  styles 


of  trimming  which  can  be  adapted  to  various  kinds  of  work  and 
not  to  any  set  pieces.  We  will,  however,  give  a description  of  a 
few  of  the  designs  illustrated. 


58 


The  Broom  Brush  Holder  represented  is  made  over  a long- 
handled  Japanese  fan,  Avhich  is  covered  with  satin.  A duplicate 
piece  of  satin  the  shape  of  the  fan  is  then  cut  and  embroidered 
with  any  tasty  spray  of  flowers.  This  piece  is  hollowed  out  a lit- 
tle at  the  to23  and  lined  with  some  stiff  material  like  wigan,  after 


EMBROIDERED  TOWELS  AND  TOWEL  RACK. 


which  it  is  fastened  on  the  fan  at  the  edges  with  an  opening  left 
at  the  bottom  through  which  the  brush  can  pass.  It  may  then  be 
trimmed  around  the  edges  with  cord  or  quilled  satin  ribbon,  with 
bows  of  ribbon  or  cord,  as  represented  in  the  cut.  The  color  of 
which  this  may  be  made  is  a matter  of  taste  — cardinal  with  blue 
flowers,  blue  with  pink  flowers,  or  olive  with  a bouquet  of  vari- 
ous colors  ; or  any  other  combination  will  be  right.  The  cord 
may  be  easily  made  of  worsted  or  silk. 


59 


The  Toilet  Bottle  and  Sofa  Pillow,  representing  two 
colors,  are  made  by  blending  shades  of  plush  and  satin  with  the 
diagonal  seams  joined,  and  sprays  worked  over  the  seam  showing 
embroidery  on  both  the  satin  and  plush. 


SCRAP  BAG. 


60 

The  Cat’s  Head,  done  in  Kensington  stitch,  is  given  simply 
to  show  the  appearance  of  the  embroidery  done  in  this  stitch. 

The  Lamp  Shade  shows  clearly  how  it  is  made.  It  is  com- 
posed of  two  shades  of  satin,  the  centre  band  embroidered  and  a 


band  of  plush  across  the  top.  It  is  attached  to  the  brass  rod  by 
small  stitches  of  silk  hidden  by  the  bows  of  ribbon.  The  rods 
may  be  bought  at  any  fancy  work  store.  The  design  for  the  em- 
broidery may  be  as  elaborate  as  desired.  The  colors  may  be 


SILK  AND  NEEDLE  CASE 


62 


varied  according  to  taste.  Two  shades  of  peacock  blue  satin, 
with  a dark,  rich  garnet  plush,  make  a very  nice  combination. 

Ladies’  Work-bag.  This  work-bag  is  easily  made,  and  is  a 
treasure  when  completed.  Its  foundation  is  three  pieces  of  paste- 
board, straight  across  their  upper  edges  and  oval  at  the  bottom. 
Two  of  them,  which  are  first  smoothly  covered  with  satin,  form 
the  bag,  being  joined  together  at  their  rounding  edges  by  a full 
puffing  of  satin,  which  is  sloped  off  so  as  to  be  considerably  nar- 
rower at  the  corners  than  at  the  bottom.  Upon  the  outside  of  one 
of  the  pieces  of  pasteboard  are  sewed  three  pinked  leaves  of  flan- 
nel in  dift'erent  colors  for  a needlebook,  and  one  side  of  the  re- 
maining piece  of  board  is  plainly  covered  with  satin,  and  has  a 
strip  of  silk  arranged  diagonally  upon  it  and  stitched  crosswise 
several  times,  just  enough  fulness  being  allowed  between  every 
two  rows  of  stitches  to  form  pockets  for  skeins  of  floss,  etc.  This 
third  section  of  pasteboard  is  now  covered  in  bag  style  on  the 
opposite  side  with  satin,  and  sewed  to  the  side  of  the  real  bag, 
having  the  needlebook  attached  with  the  thread-pockets  on  the 
inside.  A little  double  ruffle  of  silk  is  sewed  inside  the  edges  ot 
the  bag  opening,  and  ribbon  strings  are  fastened  at  the  corners  to 
hold  it,  and  their  ends  are  tied  in  a bow.  A bow  is  also  fastened 
at  the  top  of  the  simulated  bag.  The  effect  is  very  rich  when 
plush  is  used  for  covering  the  sides  and  silk  for  the  puffing. 
Cashmere  in  pretty  colors  may,  however,  be  used  with  very 
pleasing  results. 

Thread-and-needle  Case.  This  useful  little  case  is  made  of 
ecru  linen,  cut  in  the  desired  shape  and  bound  with  bright  red 
braid.  A small,  straight  piece,  bound  in  the  same  way,  is  stitched 
on  with  red  silk,  allowing  sufficient  fullness  in  each  section  for  the 
skeins  to  pass  under.  Several  leaves  of  red  flannel,  prettily 
pinked,  are  at  one  end  to  hold  the  needles.  The  case  rolls  up  and 
is  tied  with  strings  of  ribbon  or  braid. 

The  Towel-rack  Frames  may  be  bought  at  any  furniture 
store  or  at  the  decorative  art  stores.  The  embroidery  may  be  done 
according  to  taste,  on  satin  plush  or  any  other  material.  The 
towels  may  be  bought  embroidered  or  done  by  hand.  A popular 


63 


style  is  to  work  a handsome  initial  just  above  the  border  of  a hand- 
some damask  towel  for  a sham  towel,  or  a band  of  flowers  may 
be  done  in  laid  work  with  French  working  cottons  in  colors  which 
are  washable. 


Contrasting  Colors. 

In  choosing  colors  which  will  “look  well  together’’  for  the 
foundation  and  trimming  of  fancy  work  no  advice  need  be  given 
to  those  who  possess  “ an  eye  for  colors,”  as  bad  combinations 
will  be  instantly  recognized  ; but  to  those  who  lack  this  important 
gift  a few  directions  may  be  of  use,  although  it  is  very  difficult  to 
give  strict  rules. 

A little  study  of  the  colors  and  shades  to  be  used  will  generally 
insure  a correct  decision.  A great  deal  has  been  said  and  written 
on  the  subject  of  color,  as  the  voluminous  scientific  works  attest, 
so  that  we  cannot  undertake  to  give  a complete  description  of  the 
methods  of  arriving  at  the  desired  information,  but  a few  hints 
may  help  somewhat.  All  colors  are  composed  of  difl'erent  com- 
binations of  the  three  primary  colors  — red,  blue  and  yellow. 
The  colors  which  will  contrast  best  with  one  of  these  colors  will 
be  composed  of  the  other  two,  the  complimentary  color  of  red 
being  green,  composed  of  blue  and  yellow  ; that  of  blue  is  orange, 
composed  of  red  and  yellow  ; that  of  yellow  is  purple,  made  by 
combining  blue  and  red.  An  illustration  of  this  is  the  golden  rod 
and  asters,  which  are  always  associated  together. 

Colors  composed  of  two  colors,  but  more  of  one  than  of  the 
other,  must  have  for  a contrast  a color  composed  mostly  of  the 
third  color,  as  scarlet  (which  is  red  tinged  with  yellow)  requires 
a bluish  green.  Crimson  (which  is  red  tinged  with  blue)  must 
have  a yellow  green  ; and  so  on.  As  a general  rule,  the  lighter 
shades  of  one  color  must  be  placed  in  contrast  with  the  lighter 
shades  of  another  color,  the  darker  with  the  darker,  etc.  There 
are  some  colors  which  should  never  be  placed  together ; scarlet 
and  yellow  is  an  instance.  Yellow  green  and  yellow,  blue  green 
and  blue.  It  would  be  impossible  to  give  a perfect  list,  so  that 
perhaps  a better  rule  than  all  the  above  is  to  take  the  colors  de- 


64 


Sired  to  be  used  and  place  them  together.  If  the  effect  is  pleasing 
to  the  eye,  they  will  be  right.  If  not,  try  other  combinations.  A 
little  time  spent  in  this  way  will  always  be  found  profitable. 

How  TO  Press  and  Line  the  Work. 

Ordinary  flat  embroidery  may  be  pressed  with  a hot  iron  on  the 
wrong  side,  laying  the  piece  on  a damp  cloth  ; but  as  this  treat- 
ment would  ruin  raised  work,  like  ribbon  embroidery,  arrasene 
work,  etc.,  a better  way  is  to  lay  a wet  towel  on  the  table  or  the 
carpet ; over  this  spread  the  piece  of  work  right  side  up,  and  tack 
it  tightly  to  the  floor,  taking  care  to  draw  it  tight  enough  to  re- 
move all  the  wrinkles ; let  it  dry  in  this  position.  Some  draw 
their  work  into  shape  by  holding  it  over  boiling  water  and  steam- 
ing it,  and  then  tack  out  on  the  carpet  as  described. 

How  TO  Wash  Silk. 

Washable  goods,  embroidered  with  silks,  should  be  soaked  a 
few  hours  in  good  luke-warm  suds  made  of  white  castile  or  olive 
oil  soap  ; then  add  hot  water  in  which  the  hand  may  be  held,  and 
wash  by  squeezing  the  water  through  the  goods.  Rinse  in  clear 
warm  water  without  aj^id.  Colors  should  be  dried  in  the  shade. 
When  dry,  stretch  into  shape  as  described  above  ; then,  to  bring 
up  the  luster,  place  a dry  cloth  over  the  work,  with  a moist  one 
over  it,  and  iron  with  an  iron  only  sissing  hot ; then  take  off  the 
damp  cloth  and  pass  the  iron  quickly  over  the  dry  cloth.  Another 
method  is  to  put  bran  {no  soap  or  soda)  in  a basin  with  water  and 
leave  the  work  to  soak  a few  hours  ; then  wash  as  described  above, 
by  squeezing,  but  never  by  rubbing.  A little  ox-gall  is  sometimes 
used  to  prevent  the  colors  from  running. 


PERFORATED  PARCHMENT 


tampiR 


We  can  furnish  any  of  the  Stamping  Patterns  illustrated  in  this 
hook.  We  give  on  the  following  pages  a list  of  the  Stamping 
Patterns,  telling  on  what  pages  they  are  illustrated,  also  the 
number,  size  and  price  of  each  of  the  patterns. 

Please  order  the  patterns  by  the  numbers. 

Our  new  Sample  Bqiok  contains  over  1.^700  illustrations  of 
new  and  choice  patterns  for  all  kinds  of  embroidery.  The  price 
of  the  Sample  Book  is  15  cei^ts.  All  persons  reading  this  notice, 
and  wanting  a copy  of  the  Sample  Book  to  select  patterns  from, 
can  have  a copy  sent  them  by  mail  by  sending  us  four  two-cent 
stamps  (8  eents). 

If  you  have  never  done  any  stamping  you  should  first  secure 
one  of  our  Stamping  Outfits.  These  Outfits  contain  a col- 
lection of  nice  patterns.  Alphabet  for  Hat  Bands,  etc.  ; also  box 
of  Stamping  Powder,  Distributing  Pad,  Book  of  Instructions  for 
Stamping,  and  a copy  of  our  New  Sample  Book,  mentioned 
above.  For  full  particulars  about  the  Stamping  Outfits  please 
read  the  advertisement  on  the  last  page  of  the  cover. 

We  also  furnish  the  material,  Florence  Embroidery  Silk, 
Embroidery  Eloss,  Chen,ille,  Arrasene,  Crewel,  Felt, 
etc.,  for  working  ^hese  patterns.  For  prices,  please  read  the 
jiotices  on  the  second  and  third  pages  ojf  the  coyer. 


?eriay  Pardmt  ^taping  Patas, 


We  give  below  a list  of  the  Stamping  Patterns  illustrated  in 
this  book.  Please  notice  that  we  give  the  Names  of  the  Flowers, 
the  page  on  which  they  are  illustrated,  also  the  7iumher^  size  and 
price  of  each  pattern.  Where  more  than  one  number  is  given 


for 

a flower  the  first  one 

is  the  one  illustrated 

in  this  book. 

We 

send  these  patterns  by  mail,  postage  paid,  for  prices  given. 

Page.  Pattern. 

No. 

Size. 

Price. 

12 

Wild  Roses  . 

637 

14x18  $ 

•35 

13 

Sweet  Brier  Roses 

mo 

5x12 

.20 

13 

Yellow  Roses 

507 

I IXI2 

■35 

13 

Yellow  Daisy 

514 

9x10 

•25 

14 

White  Daisy  . 

710 

6x1 1 

•25 

I? 

Clover  . 

1 559 

I IXI7 

•50 

J 

( 9281 

6x  7 

•15 

( 211 

10x15 

•35 

722 

7x12 

.15 

16 

Poppies 

. ^ 

1 740 

9^15 

■30 

[ 526 

I ixi  5 

■35 

17 

Forget- rue-nots 

759 

6x1 1 

•25 

18 

Bachelor’s  Button  . 

1 9228 

i^x  4 

•05 

^9135 

3'x  5 

.10 

19 

Violets  . 

4^  in.  high. 

•25 

( 9232 

2x  4 

•05 

19 

Sun  Flowers  . 

71 2 

5x  8 

■15 

67 


Page,  Pattern. 

20  Pansies  . 


21  Lilies  of  the  Valley 

21  Sumac  . 

22  Woodbine 

22  Trailing  Arbutus  . 

23.  Golden  Rod  . 

23  Thistles 

24  Apple  Blossoms 

25  Barberries 

26  Peach  Blossoms 

27  Pond  Lilies  . 

28  Pine  Cones  . 

29  Tulips  . 

30  Strawberries  . 

31  Wild  Geranium 

32  Blackberry  Vine 

32  Buttercups 

33  Cat  Tails 

34  Iris 

35  Wheat  . 

35  Grasses  . 

35  Ferns  . 

36  Mountain  Ash 

37  Nasturtiums  . 

38  Azalia  . 

39  Morning  Glories 

39  Geraniums 

40  Russian  Snow  Flower 

40  Love-in-the-Mist  . 

41  Calla  Lilies  . 

41  Coxcomb 


No. 

Size. 

Price 

435 

12x18 

•35 

787 

7x  9 

.20 

9250 

4x  6 

.10 

788 

5x  9 

.20 

9395 

IX  4 

•05 

9334 

2X  4 

•05 

346 

14x15 

.40 

306 

12x18 

•50 

1 160 

4 in.  high. 

•25 

733 

7x13 

•30 

741 

8x10 

•25 

328 

12x13 

•50 

761 

8x12 

•35 

736 

6x14 

•25 

554 

12x19 

•25 

303 

12x14 

•50 

329 

13x13 

•30 

7204 

7x12 

•25 

9262 

6x  9 

.10 

1240 

7 in. 

•50 

9348 

4x  7 

.10 

1255 

7x24 

•30 

575 

9x18 

•25 

1107 

5x20 

•25 

1268 

5 in- 

•25 

316 

^5x15 

.40 

301 

12x13 

•30 

503 

9x15 

•35 

1201 

6"  in. 

•25 

532 

6x20 

•35 

9207 

4x  5 

.10 

576 

14x16 

•25 

I I7I 

3 in. 

•15 

00 

7x1 1 

.20 

790 

7x10 

•25 

68 


Page.  Pattern, 

42  Crocus  . 

42  Love-lies-Bleeding 

42  Cactus  Flower 

43  Fuschia 

43  Salvia  . 

44  Carnation  Pink 

44  Cherries 

45  Bitter  Sweet  . 

45  Algerian  Star  Flower 
47  Chicory 


No, 

Size. 

Price. 

1215 

4^  in. 

•25 

552 

7x16 

-30 

557 

lOXI  I 

•25 

9137 

4x  6 

.10 

517 

8x1 1 

•25 

755 

5x13 

•25 

313 

12x18 

•35 

732 

7x12 

•25 

333 

12x16 

'30 

721 

8x14 

•35 

PLEASE  REMEMBER. 

That  we  can  furnish  the  material  for  working  these  designs. 

You  should  send  15  cents  for  the  Shade  Cards  of  the  Flor^ 
ENCE  Embroidery  Silk  and  Floss.  They  will  be  a great  help 
in  selecting  your  Shades  and  Colors, 

You  can  select  the  shades  of  Silk,  Floss,  Chenille,  Arra- 
SENE  and  Crew^el  from  these  shade  cards.  Order  by  the  Num-> 
bers. 

Please  read  the  advertisement  on  the  second  page  of  cover. 


PaHQY  ®ei6©pials 


ET  PRICES  REDUCED. 


Florence  Embroidery  Silk  is  put  up  in  Skeins  and  on  Spools,  The  Skeins  con- 
tain about  3 yards  each.  The  Spools  contain  about  10  yards  each.  The  Spool  Embroidery 
Silk  is  the  very  best.  We  furnish  it  in  Skeins  and  on  Spools.  Price,  2 cts.  per  Skxzn,  25 
Skeins  for  35  cts.,  50  Skeins  for  00  cts. ; 0 cts.  per  Spool,  12  Spools  for  00  cts. 

Florence  Embroidery  Floss,  4 cts.  per  Skein,  12  Skeins  for  44  cts. 

Order  by  the  Numbers  mentioned  in  this  book  and  on  the  Shade  Cards.  We  pay  Pos- 
tage. 

Florence  Shade  Cards,  15  cts,  (See  advertisement  on  second  page  of  this  Cover.) 

Imported  Chenille,  5 cts.  per  Skein,  12  Skeins  for  50  cts. 

Kensin^on  Aracine,  4 cts.  per  Skein,  12  Skeins  for  44  cts. 

Bngrlish  Crewels,  5 cts.  per  Skein,  12  Skeins  for  50  cts. 

Chenille  for  Workingf  Sumac,  30  cts.  per  Bunch,  4 Bunches  for  $1.00  {Jlkree 
shades  of  Red). 

French  Embroidery  Cotton.  For  Outline  Work,  Red  is  used  most.  War- 
ranted fast  Colors.  3 cts.  per  Skein,  12  Skeins  for  25  cts. 

Florence  Btchingr  Silk,  for  Outline  Work,  0 cts.  per  Spool,  12  Spools  for 
60  cts.  All  Colors.  Black  and  Red  are  used  most. 

Florence  Knittingr  Silk,  all  Colors ^ 40  cts.  per  Ball,  3 Balls  for  $1.00. 

Florence  Knittingr  Books,  Nos.  4 and  5.  They  contain  patterns  for  Mittens^ 
Babies'  Socks^  Lace  Edgings^  etc.  Price,  0 cts.  each. 

Felt  for  Embroidery,  great  variety  of  Colors.  Prices  reduced.  1-2  yard  wide, 
40  cts.  per  yard;  1 yard  wide,  75  cts,  per  yard;  1 1-2  yards  wide,  $1.10  per  yard;  2 yards 
wide,  $1.35  per  yard.  Less  than  a yard,  any  width,  at  same  rate.  For  example,  1-2  yard 
(1-2  yard  wide),  would  cost  20  cts. 

Embroidery  Linen  for  Splashers,  Tidies,  Doilies,  etc.,  18  inches  wide, 
35  cts.  per  yard;  3 yards  for  $1,00. 

Oakdale  Twine,  four-oz.  balls,  unbleached  only  ^ 25  cts.  per  Ball,  2 Balls  for  40  cts. 

Colored  Oakdale  Twine,  two-oz.  ball;  Dark  and  light  Red,  dark  and  light  Blue, 
Drab,  Yellow  and  Old  Gold,  18  cts.  per  Ball,  2 Balls  for  30  cts.  We  pay  postage. 

The  **  Oakdale  ” Twine  is  the  best  twine  to  use  for  making  Twine  Tidies. 

Samples  of  our  Fancy  Work  Materials.  We  will  send  you  Samples  of  out 
Felts,  Embroidery  Linen,  Germantown  Yarn,  Oakdale  Twine,  and  one  skein  eacl 
of  Imported  Floss  and  Silk,  Florence  Embroidery  Silk,  Imported  Chenille 
Aracine,  French  Embroidery  Cotton,  and  Imported  Art  Crewel,  ail  for  twelve 
two-cent  stamps  (24  cts.).  We  do  not  send  Samples  free. 


Address  all  orders  to 


J.  F.  INGALLS. 

X.-sriT3!T, 


■^nnrOTJiEe  isss'r^r^ 


NEW  STAMPING  OUTFIT 

For  Kensington,  Outline  and  Ribbon  Embroidery,  Kensington  and  Lustro 
Painting,  Braiding,  etc. 


With  this  Outfit  jou  can  do  your  own  Stamping  and  Stamping  for 
others. 

Please  take  notice  that  we  have  made  a change  in  our  $ I Stamping 
Outfit,  and  now  send  35  Stamping  Patterns  instead  of  13  Patterns. 


Our  new  1885  Stamping  Outfit  contains  a Compiete  Al.  habet  (26 
Letters)  for  Hat  Bands,  Napkins,  etc.,  and  35  Stamping  Patterns- 
Designs  of  Daisies,  Ferns,  Wild  Roses,  Lilies  of  the  Valley,  Bouquets, 
Outlines,  Half  Wreath  of  Roses  for  Pillow  Shams,  Strips  for  Flannel 
Skirts,  Scallops,  Vines,  Braiding  Pattern,  Cherries,  Butterfiies,  Grass- 
hopper, Mouse,  Kitten,  Frog,  Anchor,  Star,  etc.  Price  List  of  Floss, 
Crewels,  Silk,  Chenille,  etc. 

BOOK  OF  INSTRUCTIONS  for  Stamping  and  Working,  Box  Stamp- 
ing Powder,  Distributing  Pad,  Instructions  for  Indelible  Stamping,  and 
New  Sample  Pattern  Book,  containing  over  1 ,700  illustrations  of 
New  and  Choice  Patterns  for  all  kinds  of  Embroidery. 

49rWe  send  this  Outfit  by  Mail  for  $1  .OO.-fit 


EXTRA  STAMPING  PATTERNS. 

Golden  Rod  and  Asters,  15  cts.  Cluster  Strawberries,  10  cts. 

Sheaf  of  Wheat,  15  cts.  Cal  la  Lily,  15  cte. 

Outline  Design,  15  cts.  Pond  Lilies,  15  cts. 

Morning  Glories,  10  cts.  Apple  Blossoms,  lO  cts. 

Sprig  of  Sumac,  15  cts.  Forget-me-nots,  15  cts. 

Woodbine,  15  cts.  Popples,  15  cts.  Pansies,  15  cts. 


Address, 

J.  F.  INGALLS, 


SPECIAL  OFFER,  We  send  ALL  these  extra  Stamping  Patterns 
and  the  Stamping  Outfit  for  $2.00. 


' UNIVERSITY  OF  ILLINOIS-URBANA 

746.44  IN4K  C001 

Kensington  embroidery  and  the  coiors  of 


